Duncan Reid has officially entered the world of retirement. Just before embarking on this new chapter of his life, he graced us with a final musical gem, fittingly named ‘And It’s Goodbye From Him.’ This remarkable album serves as a poignant conclusion to a rich and illustrious career. Sweet Sweet Music blog recently had the privilege of conversing with Duncan, setting aside his extensive career, which could easily fill the pages of an encyclopedia, to focus on the resounding success of ‘And It’s Goodbye From Him.’

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Be sure to catch ‘Oh My My’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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Could you please share the journey of bringing this record to life? How did all the pieces come together to create the final product?

During lockdown, I published a daily video diary where I wrote a song from scratch. It’s the most popular blog I’ve ever published, and it’s worth taking a look at here because it pretty much shows the process by which I write all my songs. I start with little snippets of tunes I’ve sung into my phone (if I don’t capture them right away, they’re gone forever), putting the clips together like a jigsaw puzzle, and then building them up in my home studio.

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

Every album is a journey through insecurity; “Will this be good enough?” is my constant companion. But every time, as we get closer to completion and especially during the final mix, I’ve thought, “This is great,” and for a month afterward, it’s like a newborn baby that you can’t stop looking at. Even if no one else heard them, it would be worth making my albums for the enjoyment they give me.

But you don’t know until it’s out there whether it’s any good, and this time, the reception has been universally unanimous. Everybody loves the album and has said it’s the best thing to come out of my career. That makes me so happy.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

Finishing the demos in my home studio is as, if not more, exciting than recording the actual master. So I love to play my new songs to friends and family. I think I’ve only changed a song once as a result though, which is when I played the precursor of “C’mon Josephine” to Andrew Matheson (previous singer in The Hollywood Brats and writer of the highly recommended book “Sick on You”). He correctly said, “No, no, no. The song’s too long, and the lyrics are miserable.” He sent new lyrics and told me where to cut the song. He turned the song into the uplifting success it is.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

I’ve retired, so the record is already successful for me with all the praise it’s received. I don’t need it to build a career or anything like that, which is a very happy place to be.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

That is the classic “Which of your children is your favorite” question 😊 Really, it’s not for me to say. Everyone has a different opinion as to what is my best song, and they are all right!

But I’m very, very proud of “Would I Lie to You” because of its craft. It’s unlike anything else I’ve written – deliberately. A waltz inspired by 1930s German cabaret with an incredible arrangement. I feel it demonstrates that I can write anything if I want to.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

There’s been a long tradition of writers from Ray Davies through Ian Hunter to even Abba and Taylor Swift who have used their own emotions and life as the material for songs. I’m very much in that tradition, although I’ve also written songs like “It’s Going so Well,” which are made-up stories.

But my own life is a constant source of rich song material. It sometimes takes bravery and honesty to use it. When I first started playing my own songs live, I thought, “Are people going to find it soppy when I sing about my children?”

In fact, most of the audience has children as well, and they connect with it. I thought long and hard about “Lost Again,” the song that describes my thoughts when I discovered I’m autistic. Did I want the world to know that? But it didn’t take long to decide: “Why not.” It was life-changing for me, and hopefully, describing my journey will help others.

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

Paul McCartney. I’m so in awe of his talent. There’s so much I’d want to learn from him: songwriting craft, backing vocals – the lot. But the man who once wrote stunning lyrics like Lady Madonna, Fool on the Hill, Eleanor Rigby, Penny Lane, For No One, Another Day…etc., hasn’t written a great lyric in years. I could do that for him.

Peter Green. “Man of the World” is the saddest song ever written, and, like Otis Redding, I feel Peter Green was on the edge of true greatness when his talent was ripped away. Imagine working with that guitar artistry and arranging ability if he hadn’t taken the fateful tab of acid which fried his mind.

Mutt Lange: from the Boomtown Rats through Def Leppard and Shania Twain, he’s had the ability to get the best out of writers and make their records sound amazing. It would be interesting to hear what he would do to mine.

Among the gigs you’ve performed, which one holds an indelible place in your memory, and why does it stand out?

There have been so many, but playing the Clash City Rockers bar in Montevideo, Uruguay, is one of them. We opened with “Montevideo,” and the place went wild. They never stopped. As usual, it was a late night there.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

Can’t tell you. It’s a bit like an elephant. You can’t describe it, but you know it when you see it.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

I don’t. I write and record for myself, doing exactly what I want to satisfy myself and not worrying about the rest.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

My favorite lines I’ve written are the funny ones. Like from “To Live or Live Not”:

“Gonna catch the first plane to Caracas, why go somewhere that’s way too safe, gonna find a girl who plays maracas, gonna ask her out with all her mates.”

Or from “It’s Going So Well”:

“I had a bet on the horses, which all ran like tortoises” – I am so proud of that rhyme! 😊

But overall, I’m very proud of my lyrics, and I think there are many deep ones. Singing with the Beach Boys on the last album is touching and clever, I believe. “That’s Just the Way It Is” about the dancing man of Hamilton is another. There’s plenty for people to sink their teeth into.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

No, I never have. The popular taste left me way behind years ago. I’ve written many songs that should have been hits but won’t be because I hate the modern “hit” sound. It’s soulless, but then I sound like my dad!

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

1. “God Only Knows” – The Beach Boys. So achingly beautiful with the Beach Boys’ backing vocals. The first hit to have God in the title. Revolutionary in middle America at the time.
2. “Wicked Games” – Chris Isaak. The reverb and atmosphere! I’ve tried to recreate it but failed.
3. “Happiness” – Goldfrapp. I think synths are great. This is a great tune and a great arrangement. I’d like to tinker with the lyrics. It could be much better.
4. “I Wanna Be Sedated” – The Ramones. Has to be one Ramones song at least, and this is one of their best.
5. “Mama We’re All Crazy Now” – Slade. Takes me back to when I was 13. What a live band.

Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?

It’s hard to explain, but I feel audiences, and when you are good, you can feel you are good from the wave of enjoyment coming back from them. It’s like nothing else. I’ve spoken to footballers who describe the adrenaline rush of the crowd going wild when they score a goal. It’s like a steady, longer, more drawn-out version of that. The feeling of a collective smile.

The other side of the coin is when you are bad; it feels like the air escaping from a punctured tire!

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

Someone today said my songs are dark but funny. I’m not sure I agree, but there is a lot of humor in them.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

I only heard this years later, but TV Smith told my friend Vom Ritchie (Drummer with Die Toten Hosen) after I left The Boys, “You can replace a bass player, but you can’t replace a Duncan.” I was so touched by that, as we are all always seeking validation for what we do.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

Again, there are so many, but I remember one because it was recent. There’s a track on the last album called “The Gilded Cage.” While we were mixing it, producer Dave Draper stuck a single, low, huge grand piano note at the very end of the intro. It was like a thousand volts of electricity going up my spine. It transformed the part. I named it “the note of genius” and insisted he repeated it elsewhere in the song, including at the very end. Incidents like that are magic.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

There aren’t many who sit in that power-pop-punk space. Too pop for punk and too punk for pop. It’s lonely at times, but I like it.

Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?

Brian Wilson, Paul McCartney, and Freddie Mercury. Now, what would those backing vocal geniuses come up with? A total mess probably! 😊

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

It’s the end of the end. Maybe one day, a toilet roll advertiser will realize what a genius I am, and a song will be broadcast to the world that will make millions rush to Spotify to listen to more, and I’ll earn £25.49. You never know?

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

None. I’ve retired 😊